The new administration continues a cycle of institutional transformation, the strengthening of educational initiatives, record-breaking visitor numbers, and the international consolidation of the Bienal de São Paulo.
Over four months, the edition brought together an intense public programme and long-term experiences.
A pioneering platform brings together art, technology, and accessibility in an unprecedented digital mediation experience.
Putting together an exhibition on the scale of a Bienal is a great challenge. To document this two-month process – from constructing the architecture with the installation of walls in the Pavilion to the final adjustments and the installation of artworks alongside the artists – we invited three photographers to capture details, faces, and moments of creation. The third part of this visual essay, produced in August 25 at the Bienal Pavilion, is signed by Ilana Bar.
Entitled Comigo ninguém pode, the exhibition is curated by Diane Lima and features the artists Rosana Paulino and Adriana Varejão, who will occupy the Brazilian Pavilion from May 2026.
Art is a collective exercise. It takes many hands to build an exhibition. Have you ever wondered who the artist is and who are the people who worked on each artwork? This essay explores the category of portraiture, highlighting artists, installation teams, curators, and staff of the Fundação Bienal. The second part of this visual essay, produced between August 18 and September 4 at the Bienal Pavilion and in artists’ studios, is signed by Fe Avila.
Divided into six chapters, the exhibition features mostly immersive artworks that will be activated performatively in the context of the exhibition’s Conjugations public programs that connect voices and territories across different geographies.
Setting up an exhibition on the scale of a Bienal is a great challenge. To document this two-month process—from the construction of the architecture, with the installation of walls in the Pavilion, to the final adjustments and the installation of works together with the artists—we invited three photographers to capture details, faces, and moments of creation. The first part of this visual essay, produced in early August at the Bienal Pavilion, is by João Victor Medeiros.
Accreditation for media and cultural professionals for the preview events of the 36th Bienal de São Paulo is now open.
Based on research at the Arquivo Histórico Wanda Svevo, Gustavo Caboco Wapichana and Tipuici Manoki wondered about Indigenous absence in contemporary art archives. Researcher Marilúcia Bottallo looks at the results of this research and explores other aspects of this process.
Based on an interview with Alberto Svevo – son of Wanda Svevo, the founder of the Bienal Archive – we put together a profile of his mother from an intimate point of view.
Researcher Bruno Pinheiro revisits the emblematic installation presented by Rubem Valentim at the 14th Bienal de São Paulo, in 1977, and analyzes how the work articulates Afro-Brazilian spirituality, sacred geometry and modernist architecture, projecting a space of resistance and reflection that gains new strength with its reassembly at the 35th Bienal.
In the last stage of the program, the 36th Bienal de São Paulo seeks to discuss the intersections between art, technology, and humanity from the point of view of artists, scientists, and researchers
Mariana Leão, researcher and curator of art collections, highlights the role of artists such as Maria Leontina, Tarsila do Amaral, Prunella Clough, and Germaine Richier in their awards at the 1st Bienal de São Paulo, especially in the acquisition categories, with their works incorporated into the MAM collection and later, the MAC USP.
Rosane Muniz Rocha, a researcher in theater theory and practice, discusses the creation of the Bienal das Artes Plásticas do Teatro in 1957, which integrated theater, set design and costume design in the Bienal de São Paulo. The show, conceived by Aldo Calvo, lasted until 1973 and was a milestone for the performing arts.
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